If you thought the first Trolls movie was fine, you’ll probably find this fine too. It completely lives up to the watchable mediocrity of its predecessor.

A more restrained effort from Araki than the headrush of Kaboom, there’s plenty of fun to be had in Eva Green’s Joan Crawford-esque turn as the vanished lady

Silly but enormous fun, complete with gypsy musical numbers and an insane battle royal finish.

Fear, a sort of pubescent Fatal Attraction, is derivative and often risible, in the competent hands of Foley it's also highly enjoyable.

As elegant as the man's clothes, this handsome biopic traces 20 incident-filled years in the life of the designer.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

An insipid '80s nostalgia piece really, held together by Fox's performance and several neat turns from his support.

A solidly okay Saturday night effort, but unambitious considering the talent involved. Maybe Rodriguez should direct Predator Resurrection, but get a science fiction writer to script it.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

What it lacks in freshness and depth, The Gentlemen certainly makes up for in cartoon-y bluster and fun details.

Poetic but bleekly pessimistic version of the Danish tragedy.

A huge, bulging disappointment.

Imagine if Stanley Kubrick had made Ghost and you're some way to this classily restrained oddity, but its morbid preoccupations and ambiguity might prove too cuckoo for most.

What most people remember is the mix of the live-action tracing within the traditional animation and just how effectively creepy it managed to be, but for the time this did a pretty good job of adapting the dense novels.

Beautifully acted, it's a tender love story with one or two belly laughs.

If it is at times a bit indie-by-numbers without the courage of all its convictions, this is a grittier, saltier than usual rom-com populated with laughs, smarts and a couple you can root for.

For all his ambition, Serkis can’t find the right tone for Mowgli and it becomes a very confused beast, neither fun enough for all ages to enjoy nor complex enough to be the visceral, grown-up thriller he nudges at.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

A splendid performance by Naomi Watts holds together this smart and astutely restrained lampoon of life in the Hollywood basement.

A strangely drab adaptation of Diderot's much racier novel.

The ensemble acting is so strong the characters are likeable without being annoying, and aside from the odd corny line which serves as a reminder of the movie's stupidity, if taken at face value it becomes a fair enough yarn with bundles of energy.

There’s a hodge-podge of ideas going on that don’t always seamlessly fit, but Wan’s homage to ’80s horror and Wallis’s fretful performance, has a bloody lot of guts.

The action is well-shot, and the buddy dynamic is fun. There’s plenty here that’s familiar, but it’s actually not a terrible way to spend a couple of hours with your Familiar.

A topical study of writers' deceptions, which also explores issues of identity and the blurred lines between fantasy and reality, The Night Listener is intriguing, thought-provoking and harrowing by turns, with fine central and supporting performances and a richly satisfying feel.

It would be easy to dismiss this as a plastic Hugh Grant rom-com but it has enough smarts, laughs and feel for its likeable characters to make it worth your while.